Villa-Lobos and Modernism

Ricardo Averbach places Heitor Villa-Lobos as the top exponent of Cultural Cannibalism in music, an aesthetic movement that has been neglected due to traditional Eurocentric views of Modernism. Villa-Lobos and Modernism shows how much our present aesthetics owes to the Modernist ideas introduced by the Brazilian composer.

Ricardo Averbach

Acknowledgments Preface Chapter 1: The Anthropophagic Aesthetic Chapter 2: Villa-Lobos, the "Cannibal who Wore Tails" Chapter 3: The Sad Clowns of Carnival: Polichinelo and Petrushka Chapter 4: Taking Flight with Two Ballet Birds: Uirapuru and Firebird Chapter 5: Dissecting Uirapuru Chapter 6: Breaking Treaties: Amazonas and Le Sacre du Printemps Chapter 7: Diving into the Amazonas Chapter 8: Towards a New Assessment of Villa-Lobos Chapter 9: The Influence of Surrealism in Villa-Lobos's Modernist Works Appendix 1: The Anthropophagous Manifesto: An Annotated Translation Appendix 2: Glossary of Musical Terminology Bibliography About the Author